2003

The Shakespeare Conference: SHK 14.1146 Tuesday, 10 June 2003
[1] From: Linda Englade <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Monday, 9 Jun 2003 09:21:39 -0700 (PDT)
Subj: Re: SHK 14.1133 Polonius and Reynaldo
[2] From: Larry Weiss <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Monday, 09 Jun 2003 15:40:58 -0400
Subj: Re: SHK 14.1133 Polonius and Reynaldo
[1]-----------------------------------------------------------------
From: Linda Englade <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Monday, 9 Jun 2003 09:21:39 -0700 (PDT)
Subject: 14.1133 Polonius and Reynaldo
Comment: Re: SHK 14.1133 Polonius and Reynaldo
I'm sure this won't be very helpful for a paper, but there is always the
consideration that Shakespeare was writing for a specific acting
company. The part of Reynaldo might have been inserted partially
because of the number of roles needed for the players.
Otherwise, it could be interesting to look at the fact that Polonius
might be intimately acquainted with all the mentioned vices, yet be a
prominent figure in (symptom of) the Danish court.
Linda Englade
[2]-------------------------------------------------------------
From: Larry Weiss <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Monday, 09 Jun 2003 15:40:58 -0400
Subject: 14.1133 Polonius and Reynaldo
Comment: Re: SHK 14.1133 Polonius and Reynaldo
The answer to Kenneth Chan's query about the "reasons ... for inclusion
of this dialogue" can be found in the recent colloquy between Ed Pixley
and myself about the function of this passage. It serves the same
purpose as the device of falling calendar pages did in 1930s cinema --
it illustrates the passage of time.
Incidentally, it also elaborates on Polonius's "indirect" methods,
which, together with the advice to Laertes, provides the most
satisfactory explanation for Hamlet's recognition of Polonius's hand in
the Nunnery Scene.
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